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Pablo Picasso Auction Price Results

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Description: Pablo Picasso (Málaga, 1881 - Mougins, 1973) Ritratto di Vollard III, 1937 acquaforte acquatinta, cm 34,7 x 24,7 Firma a matita in basso a destra All'angolo inferiore destro il timbro della Libreria Prandi, Reggio Emilia PORTRAIT OF VOILLARD III, 1937, COLOURED ETCHING, CM 34,7 x 24,7 SIGNED IN PENCIL BOTTOM RIGHT BIBLIOGRAFIA: G.Bloch, Picasso, catalogue de l'oeuvre gravée et lithographiè, 1904-1967, Tomo I, editions Kornfeld et Klipstein, Berna, 1968 p.230, n°232

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Description: Natura morta Incisione, linoleum 24.5x29.7 in (62.3x75.3 cm) signed 51/160 (Lower Right).

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Pablo Picasso

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Description: Signed Picasso (upper left),Oil on canvas,18 1/8 by 13 1/4 in.,46.2 by 33.7 cm,Painted in Summer 1912.

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Pablo Picasso (1881-1973)

Description: Pablo Picasso (1881-1973) Little Wood-Owl (A.R. 83) partially glazed white earthenware pitcher painted in beige, green and black, 1949, from the edition of 200, with the 'MADOURA PLEIN FEU' and 'D'APRES PICASSO' pottery stamps on the underside 4¾ x 4 x 5¼ in. (121 x 102 x 133 mm.)

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PABLO PICASSO

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Description: Four Enlaced Profiles from the edition of 25, with the <em>Empreinte Originale de Picasso</em> and <em>Madoura Plein Feu</em> pottery stamps on the underside, in excellent condition.

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PABLO PICASSO

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Description: PABLO PICASSO 1881 - 1973 COUPLE À LA GUITARE Signed Picasso (upper left); dated 11.1.70 II on the reverse Oil on canvas 63 3/4 by 51 1/8 in. 162 by 130 cm Painted on January 11, 1970.

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PABLO PICASSO

Description: PABLO PICASSO 1881 - 1973 PORTRAIT DE SYLVETTE Signed Picasso (upper left) Oil on canvas 31 7/8 by 25 5/8 in. 81 by 65 cm Painted on April 30, 1954.

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Pablo Picasso (1881-1973)

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Description: Pablo Picasso (1881-1973) Femme assise aux bras croisés signed 'Picasso' (lower right) pen and ink and blue wax crayon on card 5 1/8 x 3½ in. (13 x 8.9 cm.) Drawn in 1902-1903

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Pablo Picasso, Youri Gagarine, Lithograph

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Description: Artist: Pablo Picasso, (after) Spanish (1881 - 1973) Title: Youri Gagarine, J-195 Year of Original: 1961 Medium: Lithograph on Arches Paper Edition: 500, 34 AP's Size: 22 in. x 29 in. (55.88 cm x 73.66 cm) Ref #: J-195 Chromist: Laurent Marcel Salinas Published btw. 1979-1982. Estate of Picasso, (Marina Picasso) pencil signature and embossed blindstamp lower right. Ink stamp verso 'Approved by the heirs of Pablo Picasso'

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Picasso Toros en Vallauris Hand Signed Poster

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Description: Pablo Picasso (Spanish, 1881-1973), "Toros en Vallauris" art poster, 1957; Tipografia Antonioni-Roma; 28 7/8" x 22 1/8"; pencil signed lower right. Linen backed.

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PABLO PICASSO, (SPANISH 1881-1973),

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Description: PABLO PICASSO (spanish 1881-1973) "PICADOR" 1952, edition of 500, painted and partially glazed white earthenware plate, stamped 'Edition Picasso', 'Madoura Plein Feu' and 'Edition Picasso' on the underside 7 3/4 in. (19.7cm) (diameter) [A. Ramie, 160]

Condition Report: Very good overall condition; no visible breaks or losses; no evidence of repairs; some yellowish residue in part of the MADOURA stamp (minor) and in the ''E'' in ''EDITION'' (stamp) . Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.

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Pablo Picasso , Homme à la pipe assis dans un fauteuil

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Description: Painted in 1916. Signed Picasso (lower right) Oil, gouache, watercolor and pencil on paper laid down on canvas

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Description: Gosol, s. painted 1906 Oil Painting (39x28in).

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Description: Bouteille et verre sur un gueridon Signed on the reverse Charcoal and papier colle on paper 24 3/4 by 19 in. 62.9 by 48.3 cm. Executed in Paris, late 1912. Provenance: Galerie Simon (Daniel-Henry Kahnweiler), Paris; Pierre Loeb, Paris; James Johnson Sweeney, New York (acquired from the above); Thence by descent and sold: Sotheby's, New York, May 9, 1995, lot 75; Acquired at the above sale Literature: Christian Zervos, Pablo Picasso, oeuvres de 1912-1917, vol. 2**, Paris, 1942, no. 429, illustrated pl. 200; Fiorella Minervino and Franco Russoli, L'Opera completa di Picasso cubista, Milan, 1972, no. 576, illustrated p. 115; Robert Rosenblum, "Picasso and the Typography of Cubism," Picasso in Retrospect, New York, 1973, illustrated fig. 83; Pierre Daix and Joan Rosselet, Le Cubisme de Picasso: Catalogue raisonne de l'oeuvre peint, 1907-1916, Neuchatel, 1979, no. 547, illustrated p. 294; Pablo Picasso, A Retrospective, (exhibition catalogue), The Museum of Modern Art, New York, 1980, p. 151, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; William Rubin, Picasso and Braque, Pioneering Cubism, Boston and Toronto, 1989, p. 35, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Josep Palau i Fabre, Picasso Cubism 1907-1917, New York, 1990, fig. a, p. 304, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Picasso and Braque, A Symposium, The Museum of Modern Art, New York, 1992, p. 126, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Christine Poggi, In Defiance of Painting: Cubism, Futurism and the Invention of Collage, New Haven and London, 1992, p. 149, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; John Richardson, A Life of Picasso: 1907-1917, vol. II, New York, 1996, p. 253, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail; Anne Baldassari, Picasso, Art and Photography, The Dark Mirror, Paris and New York, 1997, p. 110, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work Picasso executed Bouteille et verre sur un gueridon in December 1912 in his Montparnasse studio at 242, Boulevard Raspail. The work appears in a photograph taken by the artist alongside his guitar construction and various related drawings and papiers colles (see fig. 1). The arrangement of the works on paper in the photograph was done by the artist, and suggests that they were all part of a series of still-life objects. The works are numbered, and the present work is no. 4. In this work, Picasso indicates the presence of a bottle and glass on a cafe table, although the whole question of how objects and the space they occupy are represented is one of Picasso's great innovations in the use of collage. The 'bottle' occupies roughly the center of the composition, and the transparent glass is indicated by the circle below it, with a triangular stem supporting a fragment of the upper part of the glass. The curve at the bottom can be read as the curve of a table, seen from above, and on which the elements of the still-life are resting. There are three notable aspects to the way in which this work is constructed: first, the assured line fills the space on the paper - in fact, it appears that a first, lighter line traced the general position of the objects and then was drawn over with a firm line; secondly, only one area is given shadow, the base of the bottle; and thirdly, the newspaper 'label' is carefully cut and glued in position. Two tiny lines at the base show that Picasso had essentially measured the position of the fragment of newspaper. Robert Rosenblum, one of the first art historians to consider the function of the newspaper from the point of view of content, and not simply a textured formal element, has determined that the fragment was cut from the December 3, 1912 issue of Le Journal. Picasso's choice of advertisements for the tonics and elixirs suggests that these might be the contents of the drawn bottle. On the other hand, the newspaper can be read as a free floating sign for the presence of newspapers on cafe tables. Rosenblum wrote: "Most often... Picasso's selection of commonplace words, like his selection of commonplace objects, belonged to the milieu of the French cafe (whose ambiance provided the richest stimulus for Cubist art) and in particular, to the inventory of alcoholic drinks available there... from such cafes Picasso selected the names and labels of aperitifs like Pernod, Anis del Mono, and Suze, brandies like Hennessey, Vieux Marc and Francoise, and ales like Bass, all of which turn up with the frequency of the daily newspaper and are subjected to similar metamorphoses. Picasso especially enjoyed a kind of Cubist prestigitation of these identifying labels, that is, a constant oscillation of their levels of fact and fiction. At times, as in the case of a bottle of Suze, he actually pasted a real label onto a Cubist bottle; elsewhere, at the opposite extreme, he would label a bottle of Bass with his own, irregular hand lettering in typographical contrast to the printed lettering on a calling card and the label of a package of tobacco [see fig. 2]. But at other times, with even richer Cubist wit, he would further compound these levels of fact and fiction by identifying a Cubist bottle neither by hand nor by the actual label, but rather by pasting a newspaper advertisement for the alcohol in question. Such is the case in a still-life of 1914 [see fig. 3] where the lettering RHUM simultaneously identifies the contents of the Cubist bottle and suggests the presence of the newspaper itself on the still-life table, or yet more ambiguously, in an earlier papier colle of December 1912 [the present work], where, if we trouble to read the trapezoidal column of advertisements Picasso selected from the newspaper, we discover not only one, but two possibilities - MARC 'A LA CLOCHE' and 'VIN DESILES' - for identifying the exact contents of the drawn bottle to which the clipping has been affixed."(Robert Rosenblum, "Picasso and the typography of cubism," Picasso in Retrospect, New York, 1973, pp. 55-56). Picasso's collages have also been discussed by Elizabeth Cowling in connection with the techniques of cutting and pasting used in dressmaking ("Fine Art of Construction," Apollo, New York, November 1995). That Picasso was also beginning his revolutionary constructions - collages in three dimensions - gives these works added significance. Other works in the series refer to bottles, musical instruments (especially the guitar) and human heads. Picasso's simplification into a system of signs of different objects in this series and in the papier colles that followed in 1913 has led to much discussion among art historians today about these works and how they relate to contemporary, theoretical ideas about language (in particular, Fernand Saussure's lectures on structural linguistics).

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Description: Adolescents, aigle et ane, s.i.d.6.3.67 col crayon prov.lit.exhib. Works on paper (26x19in).

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Description: Femme au bras gauche lev‚ signed twice 'Picasso' (lower right) colored wax crayon, pen and brown ink on paperboard 51/4 x 31/2 in. (13.5 x 9 cm.) Drawn in Barcelona in 1902 PROVENANCE Sebasti n and Carlos Junyer-Vidal, Barcelona. M. Knoedler & Co., Inc., New York (acquired from the above, 1958). Frank Perls Gallery, Beverly Hills (acquired by the present owner, 1965). LITERATURE C. Zervos, Pablo Picasso, Paris, 1932, vol. I (oeuvres de 1895   1906), no. 153 (illustrated, pl. LXXII). G. Boursaille, P. Daix and J. Rosselet, Picasso: The Blue and Rose Periods, A Catalogue Raisonn‚ of the Paintings 1900-1906, Greenwich, 1966, no. D.VII.3 (illustrated, p. 213). M. N. Carter, "Great Private Collections: The Obsessions of Billy Wilder," Saturday Review, December, 1980, p. 63 (illustrated). P. Viladas, "A Life in Pictures," House & Garden, April, 1989, pp. 155 and 158 (illustrated). EXHIBITION Los Angeles, University of California Art Galleries, "Bonne Fˆte" Monsieur Picasso, October-November 1961, no. 59. Santa Barbara, University of California, University Art Gallery, Selections from the Collection of Mr. and Mrs. Billy Wilder, October-November 1966, no. 45d (illustrated, p. 26). Los Angeles County Museum of Art, Picassos in Southern California, A Tribute to the Artist at 90, October-November 1971, no. 16. SALESROOM NOTICE The Mus‚e Picasso has requested this work be loaned to their forthcoming exhibition Picasso ‚rotique which will travel to the Jeu de Paume in Paris and the Mus‚e des Beaux Arts in Montreal in 2001.

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pablo picasso 1881-1973

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Description: pablo picasso 1881-1973Bouteille et verre sur un gueridonSigned on the reverseCharcoal and papier colle on paper24 3/4 by 19 in. 62.9 by 48.3 cm.Executed in Paris, late 1912.Provenance: Galerie Simon (Daniel-Henry Kahnweiler), Paris; Pierre Loeb, Paris; James Johnson Sweeney, New York (acquired from the above); Thence by descent and sold: Sotheby's, New York, May 9, 1995, lot 75; Acquired at the above saleLiterature: Christian Zervos, Pablo Picasso, oeuvres de 1912-1917, vol. 2**, Paris, 1942, no. 429, illustrated pl. 200; Fiorella Minervino and Franco Russoli, L'Opera completa di Picasso cubista, Milan, 1972, no. 576, illustrated p. 115; Robert Rosenblum, "Picasso and the Typography of Cubism," Picasso in Retrospect, New York, 1973, illustrated fig. 83; Pierre Daix and Joan Rosselet, Le Cubisme de Picasso: Catalogue raisonne de l'oeuvre peint, 1907-1916, Neuchatel, 1979, no. 547, illustrated p. 294; Pablo Picasso, A Retrospective, (exhibition catalogue), The Museum of Modern Art, New York, 1980, p. 151, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; William Rubin, Picasso and Braque, Pioneering Cubism, Boston and Toronto, 1989, p. 35, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Josep Palau i Fabre, Picasso Cubism 1907-1917, New York, 1990, fig. a, p. 304, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Picasso and Braque, A Symposium, The Museum of Modern Art, New York, 1992, p. 126, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; Christine Poggi, In Defiance of Painting: Cubism, Futurism and the Invention of Collage, New Haven and London, 1992, p. 149, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this work; John Richardson, A Life of Picasso: 1907-1917, vol. II, New York, 1996, p. 253, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail; Anne Baldassari, Picasso, Art and Photography, The Dark Mirror, Paris and New York, 1997, p. 110, illustrated in a photograph of the interior of the artist's studio in the Cite Poussin on the Boulevard Raspail showing this workPicasso executed Bouteille et verre sur un gueridon in December 1912 in his Montparnasse studio at 242, Boulevard Raspail. The work appears in a photograph taken by the artist alongside his guitar construction and various related drawings and papiers colles (see fig. 1). The arrangement of the works on paper in the photograph was done by the artist, and suggests that they were all part of a series of still-life objects. The works are numbered, and the present work is no. 4.In this work, Picasso indicates the presence of a bottle and glass on a cafe table, although the whole question of how objects and the space they occupy are represented is one of Picasso's great innovations in the use of collage. The 'bottle' occupies roughly the center of the composition, and the transparent glass is indicated by the circle below it, with a triangular stem supporting a fragment of the upper part of the glass. The curve at the bottom can be read as the curve of a table, seen from above, and on which the elements of the still-life are resting. There are three notable aspects to the way in which this work is constructed: first, the assured line fills the space on the paper - in fact, it appears that a first, lighter line traced the general position of the objects and then was drawn over with a firm line; secondly, only one area is given shadow, the base of the bottle; and thirdly, the newspaper 'label' is carefully cut and glued in position. Two tiny lines at the base show that Picasso had essentially measured the position of the fragment of newspaper.Robert Rosenblum, one of the first art historians to consider the function of the newspaper from the point of view of content, and not simply a textured formal element, has determined that the fragment was cut from the December 3, 1912 issue of Le Journal. Picasso's choice of advertisements for the tonics and elixirs suggests that these might be the contents of the drawn bottle. On the other hand, the newspaper can be read as a free floating sign for the presence of newspapers on cafe tables. Rosenblum wrote: "Most often... Picasso's selection of commonplace words, like his selection of commonplace objects, belonged to the milieu of the French cafe (whose ambianceprovided the richest stimulus for Cubist art) and in particular, to the inventory of alcoholic drinks available there... from such cafes Picasso selected the names and labels of aperitifs like Pernod, Anis del Mono, and Suze, brandies like Hennessey, Vieux Marc and Francoise, and ales like Bass, all of which turn up with the frequency of the daily newspaper and are subjected to similar metamorphoses. Picasso especially enjoyed a kind of Cubist prestigitation of these identifying labels, that is, a constant oscillation of their levels of fact and fiction. At times, as in the case of a bottle of Suze, he actually pasted a real label onto a Cubist bottle; elsewhere, at the opposite extreme, he would label a bottle of Bass with his own, irregular hand lettering in typographical contrast to the printed lettering on a calling card and the label of a package of tobacco [see fig. 2]. But at other times, with even richer Cubist wit, he would further compound these levels of fact and fiction by identifying a Cubist bottle neither by hand nor by the actual label, but rather by pasting a newspaper advertisement for the alcohol in question. Such is the case in a still-life of 1914 [see fig. 3] where the lettering RHUM simultaneously identifies the contents of the Cubist bottle and suggests the presence of the newspaper itself on the still-life table, or yet more ambiguously, in an earlier papier colle of December 1912 [the present work], where, if we trouble to read the trapezoidal column of advertisements Picasso selected from the newspaper, we discover not only one, but two possibilities - MARC 'A LA CLOCHE' and 'VIN DESILES' - for identifying the exact contents of the drawn bottle to which the clipping has been affixed."(Robert Rosenblum, "Picasso and the typography of cubism," Picasso in Retrospect, New York, 1973, pp. 55-56).Picasso's collages have also been discussed by Elizabeth Cowling in connection with the techniques of cutting and pasting used in dressmaking ("Fine Art of Construction," Apollo, New York, November 1995). That Picasso was also beginning his revolutionary constructions - collages in three dimensions - gives these works added significance. Other works in the series refer to bottles, musical instruments (especially the guitar) and human heads. Picasso's simplification into a system of signs of different objects in this series and in the papier colles that followed in 1913 has led to much discussion among art historians today about these works and how they relate to contemporary, theoretical ideas about language (in particular, Fernand Saussure's lectures on structural linguistics).

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Description: Corrida aux personnages, 1950, 1950 Ceramique, email : plat 15.4 in (39 cm) Empreinte originale Picasso. Madoura. Ramie, no.104, 1988.

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Description: PABLO PICASSO (1881-1973) Quatre poissons polychromes (A.R. 31) avec les cachets 'EDITION PICASSO/MADOURA PLEIN FEU' et numéroté 'I. 111 166/200' (en dessous)plat en terre cuite peinte et émaillée 31.8 x 39 cm. (12½ x 15 3/8 in.) Conçu en 1947 dans une édition de 200 exemplaires

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                                          D'APRES PABLO PICASSO (1881-1973)

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Description: D'APRES PABLO PICASSO (1881-1973) Femmes et Faunes, avec la préface d'Antonina Vallentin, Au Vent d'Arles, Paris 1956portfolio complet comprenant treize reproductions en noir et en couleurs, sur vélin, spécialement filigrané pour l'édition, exemplaire numéroté 3/100, avec la chemise originale toilée beige

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Description: Pablo Picasso (1881-1973) Le repas frugal signed in pencil and signed, dated and dedicated in black ink:'A mi amigo Casanovas Picasso Paris Diciembre 1904' (lower right)Etching and scraper, on laid Arches paper, a very fine, early impression, one of the few printed in 1904/5 before steel-facing and one of only two recorded with this date (other surviving impressions being dated 1905 or undated).Image: 18¼ in. x 14 7/8 in. (46.3 x 37.7 cm.)Sheet: 21 5/8 x 16 5/8 in. (54.9 x 42.2 cm.)Etched and printed in 1904

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                                        Pablo Picasso (1881-1973)

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Description: Pablo Picasso (1881-1973) Visage no.203 marked and numbered 'No203/Edition Picasso/52/150/Madoura' (underneath) partially glazed ceramic plate 9 7/8in. (25.1cm.) diameter Conceived in 1963 and executed in an edition of 150

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PABLO PICASSO

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Description: PABLO PICASSO 1881 - 1973 COUPLE, LE BAISER signed Picasso (upper left); dated 28.11.69 . on the reverse oil on canvas 116.2 by 89.5cm. 45 3/4 by 35 1/4 in. Painted on 28th November 1969.

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AFTER PABLO PICASSO (1881-1973), 'Dejeuners',

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Description: AFTER PABLO PICASSO (1881-1973), 'Dejeuners', lithograph, 20cm x 30cm, from the 'Dejeuners' suite, published in 1961, plates made by the studio, framed.

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Pablo Picasso (Spanish, 1881-1973) Service poisson 19cm (7 1/2in) diameter

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Description: Service poissonnumbered and inscribed 'CR/38/C/Edition/Picasso/Madoura' (underneath), painted and glazed white earthenware bowl 19cm (7 1/2in) diameter

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After Pablo Picasso (Spanish, 1881-1973) Sixty Years of Graphic Works Lithographic poster printed in colours, 1966, on smooth wove, the edition was 2500, printed by Mourlot, Paris, 590 x 455mm (23 1/4 x 17 7/8in)(I) unframed

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Description: Sixty Years of Graphic Works (Czwiklitzer 53) Lithographic poster printed in colours, 1966, on smooth wove, the edition was 2500, printed by Mourlot, Paris, 590 x 455mm (23 1/4 x 17 7/8in)(I) (unframed)

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PICASSO Pablo (1881-1973)Portrait de Marcel

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Description: PICASSO Pablo (1881-1973)Portrait de Marcel BoudinEpreuve d'état datée du 15 mars 39 et signée Picasso en bas à droite. 17.5 x 8 cm à la cuvette.

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PABLO  PICASSO

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Description: 1881  -  1973 COLOMBE  SUR  LIT  DE  PAILLE  (SEE  A.  R.  79) Terre  de  faïence  platter,  1949,  a  colour  variant  aside  from  the  edition  of  300,  inscribed  Madoura  and  d'Après  Picasso,  with  the  workshop  numbering,  glazed  and  painted  red,  yellow,  white,  and  black,  with  the  Madoura  stamp Height:  320mm;  12  5/8  in

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Pablo Picasso

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Description: Pique (Rouge et Jaune) (B. 908; Ba. 1227Ba) linocut in colours, 1959, signed in pencil, numbered 38/50 (there were also around twenty artist's proofs), published by Galerie Louise Leiris, Paris, 1960, with margins, a thin band of mount-staining, two unobstrusive lines of surface abrasion into the upper right of the subject, otherwise generally in good condition, framed P. 530 x 639mm., S. 620 x 750mm. NOTES Initially, in the early 1950's, Picasso was content to use linocuting to produce quick, cheap posters advertising exhibitons and bullfights in Vallauris. However he soon realised that the technique was capable of much more, and between 1958 and 1962 completely transformed the medium. Here he uses it to obtain broad, flat areas of colour and sweeping curves that could not be obtained in any other medium.

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PABLO PICASSO

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Description: Heads of Rams (M. 19; B. 382) lithograph, 1945, on Arches, Mourlot's only state, Mourlot calls for 18 proofs and the signed and numbered edition of 50, with wide margins, time staining, a stain in the left margin, old glue remains and associated staining in places at the reverse of the margin edges, otherwise in good condition, framed L. 91/2 x 13 3/8 in. (241 x 340 mm.) S. 13 x 17 3/8 in. (330 x 441 mm.).

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Description: PABLO PICASSO (1881-1973) Femme et singe signé et daté '3.1.54. Picasso' (en haut à gauche) encre de Chine et lavis d'encre sur papier 32.2 x 23.9 cm. (11 5/8 x 9½ in.) Exécuté à Vallauris, le 3 janvier 1954.

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                                        PABLO PICASSO

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Description: PABLO PICASSO Goat's Head in Profile (A.R. 146) partially glazed white earthenware dish painted in colors, 1952, from the edition of 250, with the 'MADOURA PLEIN FEU' and 'EMPREINTE ORIGINALE DE PICASSO' pottery stamps on the underside, generally in very good condition12¼ x 20¼ in. (311 x 514 mm.)

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PABLO PICASSO

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Description: Face Plates: group of 10 all inscribed or incised with Madoura numbers and each numbered out of 100, each with the Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the reverse, a few with traces of surface soiling, otherwise all in very good condition.

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PICASSO - PORTRAITS IMAGINAIRES LITHOGRAPH

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Description: PICASSO, Pablo, after, Spanish 1881-1973 Lithograph in colors from "Portraits Imaginaires", 26" x 20", signed in the plate, dated 27 - 2- 69 I II . Lower left margin soiled.

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AFTER PABLO PICASSO (1881-1973), 'Dejeuners',

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Description: AFTER PABLO PICASSO (1881-1973), 'Dejeuners', lithograph, 20cm x 30cm, from the 'Dejeuners' suite, published in 1961, plates made by the studio, framed.

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AFTER PABLO PICASSO (1881-1973), 'Picador',

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Description: AFTER PABLO PICASSO (1881-1973), 'Picador', linogravure, 27cm x 33cm, framed, published by Harry Abrams.

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Pablo Picasso

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Description: Pablo Picasso Femme au Balcon, Affiche 'Oeuvre gravé' (Bloch 1289; Mourlot 335)lithograph, 1960, on watermarked Arches paper, signed in red crayon, an unnumbered impression aside from the edition of 145 (there was also a poster edition of 625 copies and 15 proofs), dedicated 'pour Marie-Anne mon amie Picasso, le 16.12.71' in blue crayon, the full sheet, laid down onto board with resultant staining, mount staining, red signature fadedL., S. 655 x 503

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Pablo PICASSO (1881-1973) FEMME ACCOUDEE, SCULPTURE DE DOS ET TETE BARBUE, 1933

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Description: Pablo PICASSO (1881-1973) FEMME ACCOUDEE, SCULPTURE DE DOS ET TETE BARBUE, 1933 Planche 71 de la Suite Vollard Eau-forte en noir sur Vergé de Montval au filigrane Vollard 44,6 x 33,9 cm Très belle épreuve en très bon état Bloch 184

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PABLO PICASSO (1881-1973), 'Figure at the bar',

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Description: PABLO PICASSO (1881-1973), 'Figure at the bar', lithograph, 20cm x 15cm, published by Quatre Chemins 1926, plates made by the Studio.

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Tête de femme à la couronne de fleurs

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Description: Pablo Picasso Tête de femme à la couronne de fleurs stamped and numbered 'Madoura Plein Feu/Empreinte Originale de Picasso/69/100' (on the reverse)unglazed terracotta plaque 12¾ x 10in. (32.5 x 25.5cm.) Conceived in 1964 and executed in an edition of 100

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                                        Pablo Picasso (1881-1973)

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Description: Pablo Picasso (1881-1973) Arène stamped and marked 'Edition Picasso/Madoura Plein Feu/Edition Picasso/Exemplaire Editeur' (underneath)partially glazed ceramic vase Height: 12¼ in. (31.1 cm.) Conceived in 1958 and executed in an edition of 100

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Rare Signed Lithograph by Pablo Picasso

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Description: Lithograph on heavy wooven arches type paper by artist Pablo Picasso - bears signature from "Le Gout Du Bonheur" suite. Unframed - dimensions are approximately 20x24. Very beautiful and very collectible!

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Rare Signed Lithograph by Pablo Picasso

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Description: Lithograph on heavy wooven arches type paper by artist Pablo Picasso - bears signature from "Le Gout Du Bonheur" suite. Unframed - dimensions are approximately 20x24. Very beautiful and very collectible!

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Rare Signed Lithograph by Pablo Picasso

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Description: Lithograph on heavy wooven arches type paper by artist Pablo Picasso - bears signature from "Le Gout Du Bonheur" suite. Unframed - dimensions are approximately 20x24. Very beautiful and very collectible!

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Limited Edition Picasso - Man With A Straw Hat - Collection Domaine Picasso

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Description: Lithograph by artist Pablo Picasso, titled, "Man With A Straw Hat". Signature in the plate in a numbered impression series from Collection Domaine Picasso. Unframed - dimensions are approximately 20x24. Certificate of authenticity provided, authentic guaranteed. phc00035.

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Framed Signed Limited Edition Picasso on Canvas

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Description: Lithograph on canvas by Artist Picasso, titled ?Two Women Running on the Beach? . Signed in the plate in a series of numbered impressions on High Quality Lithograph on heavy canvas. Dimensions are approx. 20x24. Beautifully Museum Framed! Certificate of Authenticity provided. Authentic Guaranteed! Pch0165

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Framed Signed Limited Edition Picasso on Canvas

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Description: Lithograph on canvas by Artist Picasso, titled ?Two Women Running on the Beach? . Signed in the plate in a series of numbered impressions on high quality heavy canvas,. Dimensions are approx. 20x24. Beautifully Museum Framed! Certificate of Authenticity provided. Authentic Guaranteed! Pch0165

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No Image Available

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Description: Pablo Picasso (1881-1973) Cavalier et cheval, 1969 piatto in ceramica, cm 21,5x21,5, es.47/100

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No Image Available

Description: Homme et femme, s. aquatint 1966 lit. Print (15x10in).

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Peintre en Demi-Figure et Modele Assis en Tailleur

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Description: Pablo Picasso (1881-1973) Peintre en Demi-Figure et Modele Assis en Tailleur firmata Picasso (in basso a destra), numerata 8/50 (in basso a sinistra) acquaforte cm 27,2x38 (lastra) cm 42x50 (foglio) Realizzata nel 1968 dalla Gallerie L. Leiris, Parigi

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